ADDITIONAL WORLD PREMIERE ANNOUNCED AT BIRMINGHAM REPERTORY THEATRE THIS DECEMBER Lightpost Theatre Company and Birmingham Repertory Theatre presentCONSTRUCTED

This December, Birmingham Repertory Theatre will present the world premiere of Constructed, a new play by CJ Lloyd Webley and Lightpost Theatre Company playing in The DOOR from 3-5 December 2020. The new commission joins sold-out world premieres from Birmingham Royal Ballet (22-24 Oct) and Rosie Kay (21 Nov) in a season of new works at The REP this winter.  

Constructed explores the culture of working-class black men in Britain. Set on a failing construction site, a group of labourers seek to better themselves but hierarchy and social circumstance forces them to stick to the job at hand. When a rare opportunity for promotion arises, fragmented relationships born out of frustration threaten to break apart the brotherhood of co-workers. This new play seeks to dig deeper behind the workplace banter of a construction site, exploring the challenges that face working class manual workers both on site and at home. 

Writer of Constructed, CJ Lloyd Webley said; “My inspiration for Constructed first came when looking through some of history’s most iconic structures; we are all aware of their existence but who were the labourers behind these great landmarks? What is their story and how does this apply in the modern context? We almost never hear of, or celebrate, the skilled tradespeople who build our megastructures further than the architect who designed them. 

“In the middle of writing the play, George Floyd was murdered, and the Black Lives Matter movement began. I started to think where do we go from here and how can this inform some of the narrative in Constructed – exploring the possible and seemingly impossible for working class black men in modern Britain.” 

Lightpost Theatre Company is a company of young black men between the ages of 18-26 from across Birmingham and the West Midlands. The company seeks to actively challenge some of the social stigmas and ideas associated with young black men, using theatre as a gateway to create new plays of social and historical importance. 

Lightpost Theatre Company originated as part of Shifting the Dial – a programme that aims to improve the mental well-being of young men of African, Caribbean, or mixed African or Caribbean heritage. The Shifting the Dial Partnership is a unique collaboration comprised of The REP, First Class Legacy, Centre for Mental Health and Birmingham and Solihull Mental Health NHS Foundation Trust and is funded by the National Lottery Community Fund.  

Constructed plays at The DOOR at The REP from 3-5 December 2020 – tickets are on sale now at birmingham-rep.co.uk. 

The production will be directed by CJ Lloyd Webley and Mathias André. 

In line with current Government regulations, The REP has taken a number of carefully managed steps and precautions to help audiences feel safe and enjoy their chosen performance. The theatre has introduced a series of new safety measures such as socially distanced seating, hand sanitising stations, temperature checks and additional cleaning. More information can be found at birmingham-rep.co.uk. 

The REP will be monitoring the situation closely regarding government advice around performances in outdoor and indoor venues, with a number of contingencies in place. The priority, as always, will be the safety of audiences, performers and staff. 

THEATR CLWYD LAUNCH THE HELPING HAND APPEAL TO FUND MICRO-BURSARIES FOR FREELANCERS

Theatr Clwyd launch the Helping Hand Appeal, a fundraising campaign to further support the organisation’s Micro-Bursaries for Freelancers initiative. The initiative has already created and awarded 50 micro-bursaries for creative industry freelancers across Wales and the UK who need extra support during this time, and the fundraising campaign hopes to create 50 more.

The micro-bursaries offer space and paid time by paying £560, the equivalent of one week of Theatr Clwyd’s acting company wage, for dedicated freelancer professional development, as well as  offering free space in its building and one-to-one time with its experienced team of theatre professionals – from technical and producing to marketing, finance and press.

Tamara Harvey, Artistic Director of Theatr Clwyd, today said, “When we launched our Micro-Bursaries initiative in August, we were inundated with applications and heartbroken at the huge number of talented people considering leaving the profession because they didn’t have hope for the future. By launching this campaign, we hope to be able to support many more freelancers throughout this period, as we know how vital and invaluable they are to not only us at Theatr Clwyd, but to the industry as a whole.”

A recipient of a micro-bursary in September said, “It arrived just in time for our family – the money will help take the pressure off, give us a moment to breathe, re-think, and re-adjust and, hopefully, take those first steps towards making theatre again.”

Throughout closure Theatr Clwyd has continued to support the local community in many different ways – encouraging creativity in young and old and those most isolated through the online Together programme, hosting blood donation sessions for the Welsh Blood Service, distributing food and creative packages to vulnerable families, leading digital dance workshops for those with Parkinson’s, running a Creative Hub for at-risk young people, and more.

For further information, and to donate, please visit https://www.theatrclwyd.com/give/helpinghand

ABOUT THEATR CLWYD

The award-winning Theatr Clwyd is Wales’ biggest producing theatre. Since 1976 Theatr Clwyd has created exceptional theatre from its home in Flintshire, North Wales. Driven by the vision and dynamism of award-winning Artistic Director Tamara Harvey and Executive Director Liam Evans-Ford, Theatr Clwyd pushes theatrical boundaries creating world-class productions.

Theatr Clwyd’s recent partnership with the National Theatre led to the creation of Home, I’m Darling which won Best New Comedy at the Olivier Awards and was nominated in five categories including Best Set Design and Best Costume Design. Other projects of note include the UK Theatre Award-winning musical The Assassination of Katie Hopkins, the site specific, immersive Great Gatsby and the Menier Chocolate Factory co-production of Orpheus Descending.

Theatr Clwyd is one of only four theatres in the UK to build sets and props, make costumes and paint scenery in-house. Their impressive team of workshop, wardrobe and scenic artists, props makers and technicians ensure the skills vital to a vibrant theatre industry are nurtured right in the heart of Wales, developing the theatre makers of the future. In addition to this, Theatr Clwyd hosts an artist development programme, trainee technicians’ scheme and an eighteen month traineeship for directors, to develop the Artistic Directors of the future.

Theatr Clwyd works in the community across all art forms and is recognised as a cultural leader for its cross generational theatre groups, work in youth justice and diverse programme of arts, health and wellbeing. Award-winning Community Engagement projects include Arts from the Armchair, in partnership with Betsi Cadwaladr University Health Board, which uses theatrical making skills to help people with early onset memory loss and their carers, and Justice In A Day, working in schools and the law courts to help at risk children to realise the consequences of crime.

Theatr Clwyd has completed the public consultation period for a major Capital Redevelopment Project which will reimagine the theatre’s public spaces and create a greener, more efficient and sustainable building where world-class art can thrive and social action is rooted for generations to come.

During the Covid-19 pandemic the theatre has been active in helping its community, from hosting blood donation sessions and distributing food to vulnerable families to creating digital dance workshops for those with Parkinson’s and sharing creative packages and activities with those most isolated.

www.theatrclwyd.comTwitter: @ClwydTweets
Facebook.com/TheatrClwyd  

Sadly, The Watermill did not qualify for funding from the Government’s £1.5 billion arts industry bailout.  Now more than ever, the theatre needs to find ways to harness support to ensure its future survival. Donations to the FULL HOUSE appeal will help The Watermill navigate through these difficult times enabling the theatre to continue to tell brilliant stories in imaginative ways for its audiences.

FULL HOUSE Appeal Press Release

It is no secret that the UK arts industry has been severely impacted by the effects of national measures introduced to slow the spread of Covid-19. Like so many other theatres around the country since March, The Watermill Theatre has faced some extraordinary challenges to try and stay afloat.  Thanks to the incredible generosity of the theatre’s supporters and the combined efforts of its staff and volunteers, The Watermill has been given a fighting chance of getting back on its feet.

The riverside venue in Berkshire reopened on 22 September with a socially distanced one-man show, Bloodshot, performed by award-winning composer and actor Simon Slater. Bloodshot is the first of three productions planned for the theatre’s socially distanced autumn season, featuring shows with smaller cast sizes, reduced capacity inside the auditorium and socially distanced seating to enable audiences to get back to watching the very best live theatre.

However, with safety of the utmost priority and a variety of new measures introduced to aid social distancing, the number of audience members the theatre can welcome to each performance has been significantly reduced. As a result, The Watermill Theatre is calling for donations to its new FULL HOUSE appeal. The registered arts charity is requesting support to help overcome the effects of reducing its seating capacity during this unprecedented period.

Artistic and Executive Director, Paul Hart said: ‘We are delighted to bring live theatre to The Watermill’s stage once again and have loved welcoming audiences back. Undoubtedly the audience experience will look and feel quite different at the theatre this season as we have implemented lots of new measures to help with social distancing and to keep everyone safe. Unfortunately, operating in this way means we are only able to sell approximately 37% of the seats in our auditorium – we usually aim to reach in excess of 80% capacity to break-even.

From the feedback we have received already, the uplifting effect that live theatre has on audiences is clear and we are determined to continue creating ambitious and exciting theatre for people of all ages to enjoy, but operating at such a reduced capacity involves a high level of financial risk. Sadly, The Watermill did not qualify for funding from the Government’s £1.5 billion arts industry bailout so – now more than ever – your support towards our FULL HOUSE appeal will make a dramatic difference.’

To find out more and make a donation to The Watermill Theatre’s FULL HOUSE appeal, please visit: watermill.org.uk or call the Box Office on 01635 46044.

Captain Fantastic’s Virtual Trick or Treat
Virtual Trick or Treat
10am – 8pm Saturday 31 October 2020

Halloween this year will be very different from normal; those who love trick or treating may be wondering what to do instead. But, fear not, to ensure no family misses out on the ultimate Halloween fun, Captain Fantastic are creating a Covid-safe online trick or treating experience. The UK’s Number 1 children’s entertainers have joined forces with experienced theatre producers Edward Andrews and Eleanor Russo of Bedouin Shakespeare Company to create this immersive Virtual Trick or Treat this Halloween for children up and down the country.

Audiences will join this spooktacular adventure from the comfort of their own home! Captain Fantastic has been kidnapped by the evil Dr Zob and it’s the audience’s job to go door to door meeting the various residents of Spooksville and gather clues, complete challenges (and collect plenty of sweets along the way!) in order to find him!

Held over Zoom, 5 fabulous actor entertainers will guide families through each virtual door, getting the little ones to complete fun tasks and find silly clues in order to help them find where Captain Fantastic has been hidden. Make sure you have a stash of sweets ready! Notwithstanding Covid, Captain Fantastic are ensuring this fabulous tradition can be continued at the spookiest time of year.

Tommy Balaam, actor and Captain Fantastic owner, comments, In this crazy time we don’t want children missing out on the joy of trick or treating, so we have made it super fun and of course 100% Covid-safe, so this fabulous tradition can be continued at our spookiest time of year. Since lockdown started Captain Fantastic have done over 2000 online parties, hosting birthdays and events for children all over the world. This is their first immersive experience.

CELIA IMRIE, JONATHAN BAILEY, SAMUEL BARNETT AND MORE JOIN THE CAST OF DIGITAL PRODUCTION OF WHAT A CARVE UP!

• THE BARN THEATRE, LAWRENCE BATLEY THEATRE & NEW WOLSEY THEATRE CO-PRODUCE THE WORLD PREMIERE OF WHAT A CARVE UP! BY HENRY FILLOUX-BENNETT

• THE PRODUCTION, BASED ON JONATHAN COE’S CRITICALLY ACCLAIMED NOVEL, WILL BE DIRECTED BY THEATRE CLWYD ARTISTIC DIRECTOR TAMARA HARVEY.

• THE CAST ALSO INCLUDES ALFRED ENOCH, STEPHEN FRY, SHARON D. CLARKE AND SIR DEREK JACOBI

The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.

Jonathan Coe said of the new adaptation, “I’m thrilled that What a Carve Up! is being brought to the stage by such a talented and experienced team. It’s twenty-five years since I wrote the book but unfortunately its political satire seems as relevant as ever – I’m sure the new adaptation will capture that, as well as the novel’s sense of fun and irreverence. I’m looking forward to getting to know it again!”

Casting announced today includes Jonathan Bailey as Henry Winshaw, Samuel Barnett as Michael Owen, Robert Bathurst as Thomas Winshaw, Celia Imrie as Joan Simpson and Dervla Kirwan as the Brunwin Advert.

The newly announced cast members join Fiona Button as Josephine Winshaw-Eaves, Sharon D. Clarke as Kim Bolton, Alfred Enoch as Raymond Owen, Rebecca Front as Hilary Winshaw, Stephen Fry as Patrick Mills, Sir Derek Jacobi as Findlay Onyx, Griff Rhys Jones as John Stephens and Tamzin Outhwaite as Interviewer 2020.

The full cast also includes: Catrin Aaron, Jamie Ballard, Jack Dixon, Julian Harries, James McNicholas and Lizzie Muncey.

The digital production, directed by Tamara Harvey (Home, I’m Darling), chronicles the events leading up to the ‘Winshaw Murders’. Filled with murder, mayhem and madness, the murder mystery turns a satirical eye on what it is like to be a member of one of the most corrupt, powerful and toxic families in the country.

Tamara Harvey said of the announced casting, “There are some casts so dazzling that my job, as a director, is to not get in the way. This is one of them. My only sadness, of course, is that we don’t get to be in the rehearsal room together. But the fact that these brilliant actors have all agreed to create this piece to raise money for regional theatres is one of the ways we’re all still fighting to ensure that there will still be rehearsals rooms across the country, somewhere, somehow, in our future.”

The murder mystery is written by Henry Filloux-Bennett (Nigel Slater’s Toast), based on the award-winning novel by Jonathan Coe, directed by Tamara Harvey (Home, I’m Darling) with Harry Smith (Henry V, Private Peaceful) as sound designer and composer, Annie May Fletcher as production coordinator and Holly Piggott as set designer.

What A Carve Up! is produced by the Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre.

The play, which will be available internationally, will run from 31 October – 29 November 2020. Tickets can be purchased at whatacarveup.com with audience members receiving a screening link which will activate at their booked performance time for a 48-hour period. A premium option, consisting of a physical programme and pre-theatre dining recipe card, will be available for UK residents.

The recipe card included in the premium option will be curated by world-renowned chef Asma Khan. Owner of the prestigious Darjeeling Express in London’s Soho, Asma Khan was the first British chef to be profiled on Netflix’s award-winning documentary series Chef’s Table and in 2019 was named number one on Business Insider’s “100 Coolest People in Food and Drink” list.

A portion of the proceeds raised by What A Carve Up! will be donated to a freelance fund to support the creative workforce that the theatres would not be able to survive without.

The production is kindly supported by Blackmagic Design.

Further casting and creative announcements will be released at a later date.

PW PRODUCTIONS LTD

RECEIVES LIFELINE GRANT

FROM GOVERNMENT’S £1.57BN

CULTURE RECOVERY FUND

PW Productions, producer of the long-running THE WOMAN IN BLACK and AN INSPECTOR CALLS has been awarded £245,000 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

PWP is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the first round of the Culture Recovery Fund grants programme being administered by Arts Council England.

In mid-March 2020 PWP was employing 180 theatre practitioners in seven productions – including THE WOMAN IN BLACK, AN INSPECTOR CALLS, THE LAST SHIP and DIRTY DANCING – across the UK, Europe and the USA. The company had plans to open further productions, all of them with significant commercial potential. By the end of March all seven production had closed, and all future shows had been shelved.

The funding from CRF will enable PWP to weather its complete loss of income until at least March 2021, when it is anticipated that a gradual return to normal business will start to become apparent.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery. 

These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

Peter Wilson, Chief Executive and Chair of PWP, said

“These are worrying times for all the performing arts. So we at PWP are grateful that the needs of the commercial producing companies have been recognised alongside those of the subsidised sector. Our hibernating productions of THE WOMAN IN BLACK and AN INSPECTOR CALLS, alongside our future productions with partners throughout the UK, have been protected by this very welcome act of sensible generosity. “

Over 1200 sign letter to save music sector

Organisations and musicians back letter to Chancellor asking for support to #MakeMusicWork

As the controversy continues over the Government’s advert featuring Fatima, a ballet dancer suggesting she retrain to work in cyber security, over 1200 organisations and musicians have signed a joint letter to Chancellor Rishi Sunak. Organised by the Musicians’ Movement and the Incorporated Society of Musicians, the letter is part of their campaign to#MakeMusicWork and save jobs in the arts sector. The proposals are also in response to Ministers stating that musicians jobs are not viable. They are viable – indeed they are essential and in many other countries direct support has been given to creatives to ensure that they can continue to work.

The signatories include organisations like the London Symphony Orchestra, Ivors Academy,  Musicians Answering Service and the Featured Artists Coalition as well as individuals like Chi-chi Nwanoku OBE, Tasmin Little OBE and Nicola Benedetti.

The letter calls for two measures to save the music sector. First, we are proposing a new Freelance Performers Support Scheme to facilitate the reopening of music venues under social distancing and see the return of live performances. This funding model would combine grants for venues and a guaranteed fee for each performer with a cultural exemption on VAT for tickets.

With a guaranteed fee for each performer even if performances are cancelled, this proposal puts freelancers at the heart of a sustainable funding model for venues.

Secondly, we are calling on the government to deliver on its pledge to ensure parity between employees and the self-employed by maintaining the existing level of support provided by the Self Employment Income Support Scheme (SEISS) and expanding the eligibility criteria.

We are keen to work with others in the sector to develop this proposal further and build support for it so signatures are still be collected on the letter. Some other notable signatories so far include the Royal Philharmonic Society, Sinfonia Cymru, the National Youth Jazz Orchestra and Help Musicians (the UK’s largest independent music charity).

Tens of thousands of jobs at risk in the UK’s cultural sector, so it is critical for government to provide a viable route back to work, allowing musicians to both support their families and start contributing once again to our communities and national life.

The Incorporated Society of Musicians’ Chief Executive, Deborah Annetts, said:

‘Arts venues and performers need support that makes it financially viable to reopen within social distancing safety requirements. With musicians’ livelihoods on the line, we are calling on the UK government to provide funding that doesn’t just help the arts survive, but enables them to thrive once again.’

Managing Directors of Musicians’ Movement, Phil Meadows & Christopher Barrett said:

‘#MakeMusicWork represents the overwhelming consensus in the arts sector that freelancers are the bedrock of our industry. These principles have the potential to reunite local communities whilst simultaneously supporting creators, performers and venues.’

Chi-chi Nwanoku OBE, Founder, Artistic & Executive Director of Chineke Foundation said:

‘Freelance musicians have borne the brunt of the shutdown of the entertainment industry over the past seven months. Their situation is precarious even during normal operating times, but last-minute cancellations of concerts due to lockdown regulations could be the difference between meeting the rent and not.

‘We are in danger of a whole generation of talent being lost without the means or commitment to a solid recovery for the cultural industries. Therefore, I am advocating that the government introduces a guaranteed minimum fee that protects freelance musicians in the event of last-minute concert cancellations.’

About the proposals

The grant, distributed by Arts Councils, is based on a venue’s full capacity and designed to cover the loss of income due to the reduced ticket sales required by social distancing guidelines. As a safeguard, venues and promoters will need to be pre-approved and meet eligibility criteria, including demonstrating their activity before coronavirus. This grant would be in addition to the income generated from ticket sales on reduced, socially distanced performances.

Because this proposal is based on a venue’s fixed total capacity, it has three key advantages:

1. It is simpler to calculate than relying on available capacity, because that rises and falls as government guidance changes.
2. It requires less administration and provides income for start-up costs, unlike a model based on ticket sales.
3. There is no regional disparity and bias between types of performance.

In addition, a cultural exemption on VAT for all tickets in both the commercial and non-commercial sector would maximise the impact of the grants and build on the success of the previous reduction in VAT – from 20% to 5% until January 12 2021. This would not just benefit to musicians but would also contribute to the well-being of communities that they work in.

The proposal would rebuild audience confidence for attending live events and keep the industry ready for a full return once all safety restrictions are removed at the end of the current crisis. Its success would depend on an accessible and efficient application system as well as the payment of grants even if government guidance changes at short-notice at either a national or local level. We anticipate that the Arts Councils in England, Wales and Northern Ireland together with Creative Scotland will be best-placed to manage the grant-making. Naturally, the scheme would need to be updated regularly in response to the ever-changing situation and would be funded by new government spending.

Mind the Gap receives vital grant from Government’s £1.57bn Culture Recovery Fund

Bradford’s Mind the Gap has been awarded £150,000 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

Mind the Gap is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

Mind the Gap is one of Europe’s leading companies that creates live performance experiences with learning-disabled artists taking centre stage. This DCMS grant funding will ensure the company can continue to develop its work, and explore new digital technology and film opportunities, so that learning-disabled artists can play their role in England’s cultural recovery.

It will be invested in new artistic activity including film outputs and broadcast that build on the success of recent live touring productions like ‘a little space’, which was co-produced with internationally renowned physical theatre company Gecko. It will also enable Mind the Gap to explore new projects and ways of working, including a family show in collaboration with fellow Bradford company 509 Arts. The majority of this investment will be used to support the involvement of freelance artist practitioners and small organisations, who are particularly vulnerable to the impacts of the Covid-19 pandemic on the arts and cultural sector.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery. 

“These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

Julia Skelton, Mind the Gap’s Executive Director said:

“Mind the Gap is delighted to be awarded this vital DCMS grant funding totalling £150,000. Our sector has been badly affected by the impacts of the pandemic and we recognise that we are privileged to have been awarded a share of the Culture Recovery Fund.  We will ensure that this is invested in targeted ways so that it benefits learning-disabled artists and their work for the long-term as well as tackling immediate priorities. Our plans are particularly focused on creative activities within our home base of Bradford, including new innovations using digital technologies, and supporting freelance artists and small organisations who face particular challenges right now.”

LAMBERT JACKSON PRODUCTIONS AND THE LONDON COLISEUM ANNOUNCE VIRTUAL PRODUCTION OF [TITLE OF SHOW]

Lambert Jackson Productions and the London Coliseum today announce a virtual production of Tony-nominated musical [Title of Show], filmed and edited at the London Coliseum in their Chorus Rehearsal Room, and available to stream on 12, 13 and 14 November. Josh Seymour directs Marc Elliot (Jeff), Tyrone Huntley (Hunter), Lucie Jones (Heidi), and Jenna Russell (Susan), with musical direction from Ben Ferguson.

Jeff and Hunter, two self-confessed nobodies in New York, make a pact: they will write an original musical and submit it to the New York Musical Theatre Festival. The only catch? The deadline is in three weeks! They’re joined by their two actress friends, Susan and Heidi and their music director, Larry but they hit another roadblock… What should they write about? They decide it’s best to “write what you know,” and set off on a unique musical adventure: writing a musical about writing a musical. As the deadline looms, insecurities creep in and jealousies flare. Will the team succeed with their musical? Could it even win a Tony?! 

Jamie Lambert and Eliza Jackson, CEO and Creative Director of Lambert Jackson Productions, today said: “We are so excited to bring this Tony Award-nominated show to the UK and stream it in partnership with the London Coliseum – what a phenomenal cast and creative team! We are determined to keep bringing theatre to audiences during this very scary and difficult time, and our streamed projects have had such a wonderful impact throughout 2020 that we want to carry on producing them for audiences across the world.” 

Tickets for the streamed performances are available at https://londoncoliseum.org/whats-on/title-of-show/  

Marc Elliott plays Jeff. His previous theatre credits include City of Angels (Donmar Warehouse, Garrick Theatre), The Girl on the Train (Duke of York’s Theatre), Macbeth (Sam Wanamker Playhouse), Sweet Charity (Nottingham Playhouse), The Big I Am, Othello, Paint Your Wagon (Liverpool Everyman), Into the Woods (Manchester Royal Exchange), Urinetown (The Other Palace, Apollo Theatre), NT50 (National Theatre), Tape (Trafalgar Studios), The History Boys (National Theatre, Wyndham’s Theatre), and Lord of the Flies, Macbeth, The Winter’s Tale, Julius Caesar (RSC). For television, his credits include Syed Masood in EastEnders, The Invisibles, M.I. High, Lewis, and Mile High.

Tyrone Huntley plays Hunter. His previous theatre credits include The View Upstairs (Soho Theatre), Leave to Remain (Lyric Hammersmith), 21 Chump Street (Courtyard Theatre), Homos, Or Everyone in America (Finborough Theatre), A Midsummer Night’s Dream (Watermill Theatre – Ian Charleson Award nomination), Angry (Southwark Playhouse), Dreamgirls (Savoy Theatre), Jesus Christ Superstar (Regent’s Park Open Air Theatre – Olivier Award nomination for Best Actor in a Musical, Evening Standard Theatre Award for Emerging Talent), Memphis (Shaftesbury Theatre), Porgy and Bess (Regent’s Park Open Air Theatre), Hairspray (Leicester Curve), and The Book of Mormon (Prince of Wales Theatre).

Lucie Jones plays Martha. Her previous theatre credits include Waitress (Adelphi Theatre), A Christmas Carol (Lyceum Theatre), Girlfriends (Bishopsgate Institute), Legally Blonde, The Wedding Singer (UK tour), RENT The Musical (The Other Palace, UK tour), American Psycho (Almeida Theatre), We Will Rock You, Ghost: The Musical (international tour), The Prodigals (Edinburgh Festival Fringe), and Les Miserables (Queen’s Theatre).

Jenna Russell plays Susan. Her previous theatre credits for the Menier Chocolate Factory include include Merrily We Roll Along (also Harold Pinter Theatre – Olivier Award nomination for Best Actress in a Musical) and Sunday in the Park With George (Wyndham’s Theatre – Olivier Award for Best Actress in a Musical; and Studio 54, Roundabout Theater Company – Drama League Award, and Tony Award and Drama Desk nominations for Leading Actress in a Musical) and The Bridges of Madison County. Other theatre work includes Fun Home (Young Vic), Doctor Faustus (Duke of York’s Theatre), Grey Gardens (Southwark Playhouse), Peter Pan the Musical (Royal Festival Hall), Songs for a New World (St James’ Theatre), Di and Viv and Rose (Vaudeville Theatre), Urinetown (St James’ Theatre and Apollo Theatre), Soho Cinders (Soho Theatre), That Day We Sang (MIF), Season’s Greetings (National Theatre), Amy’s View (Garrick Theatre), and Guys and Dolls (Piccadilly Theatre – Olivier Award nomination for Best Actress in a Musical). For television, her work includes as series regular Michelle Fowler in EastEnders, Call the Midwife, The Ladies Paradise, Better Class of Person and Born and Bred; and for film, The Death and Life of John F. Donovan, Mortdecai, Scared Hearts and The Fear.

Ben Ferguson plays Larry (The Musical Director). His recent Theatre credits include: Groundhog Day, Les Misérables (Wermland Opera), Adding Machine: A Musical (Finborough Theatre, OffWestEnd.com finalist for ‘Best Musical Direction’), Honeymoon In Vegas (London Palladium), A Night At The Oscars (Upstairs At The Gatehouse/Radlett Centre), Holy Crap! (King’s Head Theatre, also arrangements and orchestrations), How To Succeed In Business Without Really Trying (Wilton’s Music Hall), Heart of Winter (Tristan Bates Theatre), Strålande, Miss Foster! (Smålands Musik och Teater, Sweden), West Side Story, Ragtime, Bishopsgate Christmas Cracker (Bishopsgate Institute) Company (Royal Academy of Music), Urinetown (Mountview Academy) and The Pajama Game (Urdang Academy). For television, his work includes Friday Night Is Music Night – Christmas Special.

Josh Seymour directs. He was the Runner-Up for the RTST Sir Peter Hall Director Award in 2018, and was Resident Assistant Director at the Donmar Warehouse from 2014-15. His previous directing credits for the stage include Musik (Assembly Rooms Edinburgh, Leicester Square Theatre), Adding Machine: A Musical (Finborough Theatre), Loserville (Stafford Gatehouse), and One Arm (Southwark Playhouse). As an Associate Director, his credits include A Christmas Carol (The Old Vic), Follies (National Theatre), Red (Wyndham’s Theatre), Beautiful – The Carol King Musical (Aldywch Theatre), and My Night with Reg (Apollo Theatre).

53TWO RECEIVES LIFELINE GRANT FROM GOVERNMENT’S £1.57BN CULTURE RECOVERY FUND

53two has been awarded a life-saving grant as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today

53two is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

53two was established in 2016 and since, has become one of Manchester’s most exciting independent arts venues. Set to move into a new, permanent venue in September this year, their plans were halted due to the current pandemic. Nevertheless, they have continued to provide ‘Pay What You Can’ services, training and opportunities throughout the lockdown, ensuring that creatives were able to feel connected to the arts whatever their situation. Since March, 53two have struggled to stay afloat and were concerned about their imminent move to a new home in Manchester city centre. Whereas money for the capital build was secure, this grant has allowed them to survive and grow as a company, providing not just affordable, professional services, but also to ensure they can launch projects to commission writers, producers, stage-managers, technicians, designers etc from across the ten Greater Manchester boroughs, creating not just new work but new opportunities for those that might not usually have them. 53two will also help creatives from diverse backgrounds express their creativity and launch their careers with much-needed, paid work. This level of work will enable them to open the doors to their new premises in 2021 and provide a fully accessible ‘arts hub’ with equality, diversity and opportunity at it’s heart.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery.

“These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

53two Artistic Director, Simon Naylor, said:

‘The past few months have been a difficult time for all within ‘The Arts’ representing just one of the hardest hit sectors. There is still a long way to go but this grant will not only ensure our survival, but will enable us to fully commit to our promise of growing and diversifying the company whilst continuing to provide essential training, professional services for creatives and exceptional productions both online and in our new home.’